His Wonderful 101
by Jack Bullions
Summary: READ IT ENTIRELY if you're serious about scriptwriting. Use it as reference.



    HIS WONDERFUL 101
    by
    Jack Bullions
    FADE IN:
    INT. OFFICE - NIGHT
    A small DIMLY LIT Victorian-esque room, modest and cozy,
    inundated with bookcases and artwork.
    SUPER: JACK BULLIONS' OFFICE
    At the desk is an archetype Professor, JACK BULLIONS. His
    eyes intent on several papers from a folder. He ignores the
    man across from him, JOHN SMITH, early 20s, budding writer
    eager for a bone.
    Bullions rolls his tongue around the insides of his cheek,
    stares at some more papers. He picks up a pen, scratches a
    few words on them.
    TICK -- TOCK -- TICK -- TOCK. John listens to the steady
    beat of the Grandfather Clock somewhere in the b.g.
    BULLIONS
    So you want to be a scriptwriter, eh?
    He stops, glancing over his glasses at John who snaps out of
    his trance.
    BULLIONS
    Do you know how to structure?
    JOHN
    Well, a little, actually...
    Bullions resumes his writing.
    JOHN (CONT'D.)
    I was hoping you could look over some of
    my material and maybe...
    (beat)
    ... you know, give me a few pointers? I
    couldn't pick up anything from fan-
    fiction dot net.
    BULLIONS
    That's all right. Let me see what you
    have.
    He looks up again. John reaches down, pulls a file from
    underneath and hands it to Bullions.
    JOHN
    Most of the stuff I found on their
    screenplay genre were transcripts.
    BULLIONS
    So you know the difference.
    (off John's nod)
    That makes two of us.
    He opens the file. Inside are some PAPERS. Bullions skims
    them over.
    BULLIONS
    Well, you don't have to worry about the
    half-inch margin. The website eliminates
    all spacing, and keeps everything left-
    aligned.
    JOHN
    (nods)
    I've noticed, when I upload text files
    into that site. I did keep the 6 inch
    width of the screenplay.
    BULLIONS
    Good. Always keep them in text files
    and in Courier Twelve font. Standard.
    You started off with the FADE IN: tag.
    That's good. Many people always forget
    that.
    (more reading)
    You have your Slug Lines done right.
    The INT. for interior scenes and EXT.
    for exterior scenes. General location
    and time of day after that. All in
    caps. Good.
    JOHN
    I don't have to go into some detail on
    the location, right? Like Bob's Room
    instead of Room.
    BULLIONS
    Only if you're revisiting the same
    location later on in the story. All the
    details you can add in the Action Lines.
    Speaking of, you've done an admirable
    job with them.
    JOHN
    Thank you. Your advice, sir, short and
    to the point.
    BULLIONS
    Exactly. You don't want to read a book.
    You want your screenplay to be economic,
    concise. This is why having an
    extensive vocabulary is a huge
    advantage. You want your descriptions
    to be felt and understood, at the same
    time not fall into lengthy overwritten
    prose or in shorthand. Another rule of
    thumb, write only what you see on the
    screen.
    (more reading)
    All first time introductions are in
    caps. Good.
    JOHN
    If you could look down there, there have
    been other instances I used caps.
    BULLIONS
    That's fine. If you include sounds,
    always capitalize, or if you need to
    switch to a different view in the same
    scene.
    JOHN
    Avoid using camera angles, right?
    BULLIONS
    Absolutely. Do not write in camera
    angles. It's an insult to the director,
    if you're lucky enough to have your work
    read.
    JOHN
    Sure. What about the parentheticals?
    BULLIONS
    Avoid those if you can. If you want
    emotion, put it in the action lines. If
    you want your character to talk to
    someone else in the middle of a
    conversation, or add a pause, then you
    can do that. You have the beat and
    pause right.
    JOHN
    And the grammar?
    Bullions grins.
    BULLIONS
    We break about every rule in the English
    language when writing our screenplays.
    All you have to remember is keep
    everything present tense, and avoid
    using participles and adverbs. Let's
    see your dialogue.
    (beat)
    Two inches in for character name. Good.
    One inch margin in for start of
    dialogue. You've kept the dialogue
    within 4 inch width. Good again. Well
    everything seems to be in order.
    Bullions replaces the screenplay in the file, and hands it
    back.
    JOHN
    Thanks, Bullions.
    He gets up, and the two shake hands.
    JOHN
    Any last advice?
    BULLIONS
    Yes. If you are serious about going
    into the scriptwriting business, do
    yourself a favor and get a career first.
    Keep this as a hobby.
    JOHN
    And if I want to go into film-making?
    BULLIONS
    Well, about that.
    The two walk away from the desk and head for the door.
    BULLIONS (CONT'D.)
    Denis Leary told me once there is no law
    on this Earth which guarantees you a job
    if you graduate from, say, NYU, with a
    degree in film. Take the money, and go
    ahead and make your film with it.
    He smiles and on that note we --
    FADE TO BLACK.
    THE END
    SOME TERMS TO BAKE YOUR NOODLE
    (V.O.) = Voice Over / Dialogue from a person or something not
    in the location. E.g. Used generally with dialogue from over
    a phone, or from a television.
    (O.S.) - Off Screen / Dialogue from a person or something in
    the same location but not on the screen.
    POV - Point of View. The perspective view of one character as
    they look at another character, or thing in the scene.
    FADE IN - A screenplay ALWAYS begins with this. Left-aligned.
    FADE OUT or FADE TO BLACK - A screenplay ends with this.
    Right-aligned.
    CUT TO - To immediately go to another person or setting
    DISSOLVE TO - A film editing technique where one scene
    "melts" or fades into another scene. Can be used in place of
    "cut to" to suggest a longer passage of time but not strictly
    necessary.
    


End file.
